David Kleeman, President of the American Centre for Children & Media, an executive roundtable that leads the US industry in developing sustainable and kid-friendly principles arrived in New Zealand in early November to educate and talk about the importance of children's media and discover what the situation is like in this country.

His visit was crucial to discuss the issues of indigenous children's media in New Zealand that surround children's producers and content makers, but also the New Zealand public. His talks captivated many people, and consequently it is hoped a movement has been awakened to advocate for Kiwi media for New Zealand children.

David is also Advisory Board Chair to the acclaimed international children's TV festival, PRIX JEUNESSE. He has consulted for producers, broadcasters and organizations and also authored a major study on public broadcasting's unique roles for children in the digital era; two book chapters; numerous articles for trade, academic and general press; and blogs for the Huffington Post.

David's retrospective thoughts on his trip are just as enlightening and interesting as his visit:

While wandering through the Auckland Museum in New Zealand, I came across an exhibition on Maori rugby players. Among the displays was an English translation of a haka, the traditional Maori posture dance and chant. This particular haka said: If you aim for the mountains, you will hit the plains; if you aim for the sky, you will hit the mountain peaks.

Somehow, this verse seemed appropriate for the children's media community in New Zealand; among developed nations, there may be none more challenged politically and economically to support homemade children's programming, and yet its content creators keep aiming high. Kaitangata Twitch, the 2010 PRIX JEUNESSE finalist directed by my host in Aotearoa - Yvonne Mackay of ProductionShed.tv - is an outstanding example of how often those shots find their mark.

While I was in New Zealand, I had the pleasure of attending the country's Film and Television Awards, and saw Yvonne and her producing partner Chris Hampson walk away with the top prize for children's and youth programmes.

Productionshed.tv, the Goethe Institut in Wellington, the Film Archive, the Screen Production and Development Association, and Maori Television all collaborated to bring me to New Zealand for a series of PRIX JEUNESSE Suitcase screenings and panels in Auckland and Wellington. Kiwi producers are in a bind right now:

� Like many small countries, it's financially unsustainable for New Zealand to produce more than a few inexpensive domestic series;

� The government-owned broadcaster, TV New Zealand, must be fully commercial, and deliver a profit. It has no mandate for public service, and its specialty free-to-air channels that included services to children have either been converted to a pay service, or will be closed down mid next year.

� the primary content funder, New Zealand On Air, has far more demand for its resources than it can meet, and commitments to ongoing children's series eat up much of the earmarked funds for kids;

� TV3 and TV4 are owned by an Australian venture capital company and are in financial difficulty, with a major re-structuring or a sale likely soon.

� Maori Television has built unique children's and youth services, and is about to undertake a matariki (period of reflection) during which it will explore its best opportunities for serving young people. It is a relatively new channel (8 years) with the specific remit to revitalize the Maori language and culture, but although it is Government-funded its budget is limited and its audience is still small.

My workshops, therefore, were primarily to engage and inspire producers and media leaders with new and affordable possibilities for supporting indigenous production. Throughout my visit, I invoked the words of Mogens Vemmer - longtime head of children's programmes for Danmarks Radio in Denmark, and one of my early mentors; he said two relevant things: "When children wake up in the morning and turn on the TV, how do they know where they are" and "I want to show children that young people grow up around the world with equal dignity, even under unequal circumstances."

My first PRIX JEUNESSE Suitcase was to a packed room of producers and writers, invited by Maori Television. I curated a Suitcase of inexpensive and innovative shows from the history of PRIX JEUNESSE that either introduced children to their own culture, or presented them with another world culture - many drawn from programme exchanges and magazine series. The audience was engaged and articulate on which ideas might best be adapted for New Zealand, and the challenges of making homemade media for a globally-connected audience.

At the SPADA convention, two short Suitcases served as creative "appetizers" - one on humor and what does and doesn't travel, and one on unique animation styles entered to PRIX JEUNESSE. The biggest and most engaging session, however, featured a panel of producers and myself, moderated by researcher Ruth Zanker from the New Zealand Broadcasting School, addressing the essential developments that would need to happen in the country to support quality children's media - public service mandates on TVNZ, a levy on commercial telecasters to provide for production funding (especially drama), completion of the broadband infrastructure, and more.

After a few radio and TV appearances, our traveling show moved to Wellington, where we welcomed a succession of audiences at the Film Archive:

� 50 five-year-olds from Mt Cook School descended in chaos on the theatre, for a screening of shows on the topic, "Tell Me Your Story" (shows about young children showing off their home, neighborhood or country);

� Almost as many "tweens" came also from Mt Cook School for a very thought-provoking session with Pablo Christiny of Chile (animator of the PRIX JEUNESSE finalist Nan I Nen) about how television can better prepare children and families for natural disasters like the earthquakes in Chile, Christchurch and Japan;

� A pack of quiet teenagers from Wellington High considered authenticity in teen TV, after watching several PRIX JEUNESSE entries for and about adolescents;

� A small crew of teachers looked at programmes that reflected various approaches to "learning" via TV, and discussed the situation for media literacy in New Zealand; and

� An evening audience of producers, educators, parents and policy makers took in my presentation on defining quality in children's digital media, then participated in an open forum, again on the domestic political and financial situation for children's media.

My two weeks in New Zealand were intellectually engaging, creatively stimulating, politically eye-opening, and thanks to my very gracious and proud Kiwi hosts, visually stunning. The landscapes change almost mile by mile, from pasture land to mountains to ocean to volcanic hills to steaming geysers. There's so much of the country left to see - if they'll have me back, visiting New Zealand could be Hobbit-forming!

David W Kleeman

President, American Center for Children and Media